
A Night in Tappan. 




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A NIGHT IN TAPPAN 



n Tarce-eemedy in One Act and One Scene 



BY 

O. B. DUBOIS 



Copyright, 1902, by o. B. Dubois 



NEW YORK 

DICK & FITZGERALD, Publishers 

18 Ann Street 



THE LIBRARY OF 
CONGRESS, 

Two Copies Received 

JUL 23 1903 

Copyright Entry 
CLASS ,6 XXc. No. 

COPY Q, 



A NIGHT IN TAPPAN 

CHARACTERS 

Mr. Augustus Betts. 
Mrs. Augustus Betts. 
Mr. John Betts. 
Mrs. John Betts. 
Bridget. 

Time. — The present. 

Locality. — Tappan, N. J. 

Time of Representation. — About thirty minutes. 



COSTUMES 



Mr. Augustus. Winter street garments. 
Mrs. Augustus. Indoor comfortable clothing. 
Mr. and Mrs. John. Travelling wraps, etc. 
Bridget. Bright green pattern calico gown, rather short skirt, 
gingham apron, thick-soled shoes. 



PROPERTIES 



Step-ladder. Hand-bell and lamp on table. Large paper bag, 
stuffed. Hat box. Large bundle. Lady's trimmed hat. Gown. 
Tray and dishes. Chairman's mallet. Shot-gun. Quilt. Hand- 
bag, shawls, travelling wraps. 



A NIGHT IN TAPPAN 



dB 



SCENE. — Dining-room in the suburban home of Mr. Augustus 
Betts, at Tap pan, New Jersey. The usual furniture and 
decorations of a dining-room. Door at rear c, and window 
to left of it. Door at l. 2 e., with transom over it. Mrs. 
Augustus Betts discovered sitting at table. 

Mrs. Gus. {rising from the table). Oh, but I'll never put in 
another winter in this town. Boo ! I'm simply paralyzed with 
cold. I wonder if the 10:30 train is in? {Taps the bell.) I 
am sick and tired of waiting night after night for Gus. to get 
home. 

ENTER Pridget c. d. 

Mrs. Gus. Bridget, has the 10 : 30 gone up ? 

Bridget. It's a cook I am — no human toime-table — and I'll not 
spind me toime listenin' fer choo-choo cars. 

Mrs. Gus. I think that you might be civil. You know I am 
anxious about Mr. Betts. 

Bridget. He's not coming. 

Mrs. Gus. How do you know? 

Bridget. How can he come on th' 10 : 30 whin th' toime's 
10 : 45 ? 

Mrs. Gus. Perhaps the clock is fast. 

Bridget. Sure, I know it's fast. 

Mrs. Gus. Well, then you may be wrong, after all. Did you 
hear the whistle? 

Bridget. I did not. 

Mrs. Gus. Then it is possible that he will come, after all. 

Bridget. He'll not come. 

Mrs. Gus. How do you know? 

Bridget. Th' train's gone up. 

Mrs. Gus. Say, didn't I ask you if you had heard the whistle? 

Bridget. Sure, yez did. 



6 A Night in Tappan 

Mrs. Gus. And you said you had not. 

Bridget. That's what I said. I heard th' bell. 

Mrs. Gus. Then that settles it. He won't be home to-night. 

Bridget. It's none of me business, but he will be home. 

Mrs. Gus. How do you know? 

Bridget. He sent word wid th' man next door. 

Mrs. Gus. Well, why didn't you tell me? 

Bridget. This is th' first toime yez axed me. 

Mrs. Gus. Well, I am glad to know he is coming. 

Bridget. Yez needn't be so glad, 'cause th' man said that Mr. 
Betts said that he was to say to me as I was to say to yez that 
mebby he would and mebby he wouldn't be home. 

Mrs. Gus. Say, didn't you tell me that you had a recommen- 
dation from your last place? 

Bridget. Sure ! 

Mrs. Gus. Well, for Heaven's sake, let me see it. 

Bridget. I will not! 

Mrs. Gus. Why not? 

Bridget. Say, do you think 1 want to lose me job? 

[EXIT Bridget u. r. e. 

Mrs. Gus. Talk to me about cozy suburban homes in Jersey ! 
The help alone would drive one crazy. I hate it here, and I 
never would be here now but for the green-eyed monster of jeal- 
ousy. The idea of Augustus Betts keeping me out here in this 
hole just because I'm attractive. And Heaven only knows how 
long I will remain so, since he has taken to buying all of my 
clothes! {Bell rings off stage.) I suppose that's him now. 

ENTER Bridget u. r. e. 

Bridget. A lady and gintleman, mom, to see yez. I told thim 
about th' boardin'-house across th' street, but they would come 
in. If they stay wid yez long I'll chuck up me job, see? 

Mrs. Gus. Show them in at once. 

ENTER Mr. and Mrs. John Betts c. d. 

John Betts. This is Mrs. Betts? (Bowing.) 
Mrs. Gus. Yes, sir. 

[EXIT Bridget u. r. e. 

John B. Well, I am John Betts, your husband's brother. This 
is my wife. (Introduces her.) We were married in Chicago 
last week and sail for London to-morrow, where I am a dele- 



A Night in Tappan 7 

gate to the Masonic Convention. It's at least fifteen years since 
I saw Gus., so we ran down to stay over night with you. 

Mrs. Gus. Why, I am simply delighted ! But isn't it a shame 
that Gus. hasn't come home yet? 



ENTER Bridget u. r. e. 

Bridget. Hey, will I cook th' three dinkey chops in th' 
mornin' or will yez eat mush? 

Mrs. Gus. Bridget, this is no time to arrange for breakfast ; 
but since you put it so abruptly, have both. 

Bridget. Yez can't have both, 'cause we only got th' mush. 

Mrs. Gus. I trust that you will pardon our cook's manners. 
It's one of the things we can't help in Jersey. However, it re- 
minds me. Make yourself comfortable, and I will prepare a 
hot lunch for you. 

Mrs. John Betts. No, please don't. Really, I have such a 
dreadful headache I could not touch a thing. 

John B. It's awfully kind of you, but I am going to ask that 
you allow my wife to retire as soon as possible. 

Mrs. Gus. Why, certainly; for I know that you are both very 
tired. Bridget, water and towels for the south bedroom, and I 
will light the grate. [EXIT l. 2 e. 

Bridget (coming close to them). So yez are going to stay all 
night, are yez? 

John B. With your permission, yes. But may I ask why you 
are so interested? 

Bridget. The town is full of robbers. 

Mrs. John. What! Robbers? 

Bridget. Yes, an' th' neighbors is out shootin' 'em nights wid 
shot-guns. Divil a soul in th' town has had a wink of sleep fer 
a month. 

Mrs. John. Oh, John, do you hear? Robbers! 

John B. There, there, now, don't get all worked up. It will 
only make your head worse. 

Mrs. John. Oh, but I'm so afraid! I won't lie down to- 
night. I won't — I won't ! I'll stay up all night. 

John B. No, you won't. If any one stays up I will. If you 
think you will rest any easier I will promise to sit up all night and 
watch. 

Bridget. Yez won't have to sit up. There's an old lounge 
over by th' windy yez can curl up on. 

Mrs. John. All right. But promise me, John, that you will 
pile all the loose furniture against the doors. 



8 A Night in Tappan 

John B. Anything — anything. Sh! She's coming. Not a 
word to her now. She is probably more worried and nervous 
than we are. 

ENTER Mrs. Gus. l. 2 e. 

Mrs. Gus. Come, now, for I know that you are both very 
tired. 
John B. (picking up grip, etc.). Thank you, thank you. 
[EXEUNT Mr. and Mrs. John and Mrs. Gus. Betts, l. 2 e. 

Bridget. Robbers! (Laughs.) There's nothing to steal in 
th' town but impty lots. Robbers! Sure, if they don't skidad- 
dle in th' mornin' I'll make it a couple of murders. 

ENTER Mrs. Gus. l. 2 e. 

Mrs. Gus. You haven't received any other message from Mr. 
Betts, have you, Bridget? 

Bridget (arms akimbo). Say, do you think I'm a tilley-graff 
operator ? 

Mrs. Gus. Oh, I have stood all I am going to from you. When 
my husband comes home I shall ask him to discharge you. 

Bridget (drawing herself up). Well, one or the other of us 
has got to git out, and I don't think it will be me. Anyway, it's 
a shame th' way you treats yer poor husband, givin' up yer own 
nice warm room to the loikes of thim an' he got to sleep in th' 
cold one. Oh, my! oh, my! 

Mrs. Gus. Shut up! Do you hear? Shut up! If I want 
Mr. Betts to sleep there (indicates r. 2 e.) he will sleep in there. 
I run this house, not you. [EXIT r. 2 e. 

Bridget. Ain't she th' sassy old thing? Be gorry, I loike this 
job. I'd sooner be dead than work where I couldn't sass th' 
missus. [EXIT u. r. e. 

ENTER Mr. Augustus Betts c. d., with large paper bag, as if 
from market, a hat box and a large bundle. 

Gus. B. Well, I wouldn't live in this town fifteen minutes if 
it wasn't for my sweet little wife. She simply dotes on this plan. 
And, of course, I've got to sacrifice personal feeling. Let her 
enjoy it, I say. We have only lived here a year, and she's a mem- 
ber of the Old Ladies' Literary Society, the Woman's Christian 
Workers, the Ladies' Home Mission, the Little Female Helpers 
of the Poor, and now, by George! they want us to join a whist 



A Night in Tappan 9 

club. But I draw the line. There are fellows in that club that 
I don't like. 

ENTER Bridget u. r. e. 

Bridget. So yez are home? 

Gus. B. {sarcastically) . No. I'm over in Brooklyn. 
Bridget. Don't get gay wid me. Do yez want some lunch? 
Gus. B. Do I? Bring me a broiled chop, a pot of coffee and 
some buttered toast. [EXIT Bridget u. r. e. 

Gus. B. {opens the hat box and takes out hat). Plenty of 
female society and a rare bunch of duds. That's Heaven enough 
for any woman. {Inspecting the hat.) That's a dream ! That's 
a dream! Gad, but I've got taste! 

ENTER Bridget u. r. e., with tray and dishes and places them 
on table. 

Bridget. Th' only taste he ever had was th' dark brown kind. 
Gus. B. {looking at the tray). Say, what was it I ordered? 
Bridget. What is it I'm givin' yez, Mr. Gus. Betts? It looks 
loike corned beef an' cabbage. Yez have a foine pair of eyes. 

[Gus. B., lifting sash, throws one of the dishes out of 
the window. 

Bridget. Phat th' divil are yez doin'? 

Gus. B. Trying to impress you with the fact that I don't like 
cabbage. 

[Bridget throws tray out of the same window. 

Gus. B. Hey, what are you doing? 
Bridget. Throwin' the corned beef out. 
Gus. B. What for? 

Bridget. Oh, I just thought thot mebby ye'd loike ter eat yer 
lunch out in the yard. 

[EXIT u. R. E. 

Gus. B. {shaking his Ust after her). Oh, I've stood all I'm 
going to from you. In the morning I shall ask Mrs. Betts to 
discharge you. By George ! I'll wake her up and thrash this 
cook business out right now. {Tries door l. 2 e.) Hello, what's 
this? Our bedroom door locked. {Eye to keyhole.) Stuffed, 
by ginger! Ha! ha! I'll play detective. {Gets step-ladder, 
u. r. e.) Now, Betts, keep cool. Keep cool, Bettsey, old man, 
keep cool. {Climbing up, he looks through the transom.) 



iO A Night in Tappan 

ENTER Bridget u. r. e. 

Bridget (aside). Sure, it's many's th' toime I've called him 
th' same — an old Bettsey. 

Gus. B. Good Heavens! She's got the furniture packed up 
ready to move. (Suddenly sliding down and confronting 
Bridget.) Bridget! Oh, Bridget! Tell me, am I in my right 
mind ? 

Bridget. Sometimes I t'ink you're a bit bughouse, sir. 

Gus. B. Bridget, there's — listen, Bridget! — there's a man in 
there (pause) on the lounge. 

Bridget. Sure, there is. 

Gus. B. Bridget, this is terrible! 

Bridget. Didn't I tell th' missus so this very evenin' ? Sez I, 
"It's a shame to treat yer poor husband loike this," sez I. 

Gus. B. Yes! yes! yes! What did she say? 

Bridget. Sez she, "Shut up!" like that. "Shut up," sez she. 
"If I want Mr. Betts to sleep in there (indicating r. 2 e.) he'll 
sleep there. I run this house," sez she. 

Gus. B. (excitedly). Terrible! terrible! When did he come, 
Bridget? When did he come? 

Bridget. This evenin'. 

Gus. B. What time? 

Bridget. Oh, right after we got th' missage thot mebby yez 
wasn't comin' home. 

Gus. B. (frantically). Terrible! terrible! Bridget, listen! 
Tell me the truth. I — I was on the ladder — I — Bridget, who else 
is in that room? 

Bridget. Sure, it's Mrs. Betts. 

Gus. B. Bridget, God bless you ! Here, take these vain bau- 
bles. They are yours. (Puts the hat on her head hindside be- 
fore.) That woman shall never wear them. I must depend on 
you. Watch out till I return. Oh, this will develop in a mur- 
der! [EXIT c.D. 

Bridget. Phat th' divil ! He's crazy. Sure, it's Mrs. Betts. 
Hivins, didn't I hear th' man say, "I'm Mr. John Betts, and this 
is me wife?" Mebby I'm daffy. I dunno. I dunno. 

[EXIT u. r. e., with step-ladder. 

ENTER Mrs. Gus. Betts r. 2 e. 

Mrs. Gus. Now, I've done it! Now I've done it! And it 
just struck me. Why, he is liable to come home at any moment, 
walk right into our room and — Oh, dear, I must put them in 



A Night in Tappan it 

the other bedroom. Oh, dear! oh, dear! (Knocks violently at 
door L. 2 E.) 

Voice within. Yes, yes, yes! Coming. 

Mrs. Gus. Oh, Heavens! I forgot to make up an excuse for 
changing their room. Here they come. Now, what will I do? 
I — oh ! — I've got to make up something. I'll say that the mos- 
quito frames in that room are broken, and I'm afraid that the 
room is filled with mosquitoes. No, no, no ! that will never do, 
as there are no frames in the windows, and this is January, with 
a foot of snow on the ground. Now, I'm in a pickle; they are 
coming. 

Mrs. John (at l. 2 e., her hair in curl papers and bandage 
around -her forehead). Mercy me, what is it? What is it? 

Mrs. Gus. Something very unpleasant. Ha ! ha ! You can't 
sleep in there. Oh, you must come over to the other room. Oh, 
dear, I hate to tell you. Ha ! ha ! There's — there's (Hys- 
terically. ) Ha ! ha. Very unpleasant, you know 

Mrs. John. Don't tell us, dear, for we know all about it. 
Honestly, we haven't been able to sleep a wink. 

Mrs. Gus. (aside). Great Heavens, there must be something 
in that room! (Aloud.) I — I — I hope they didn't keep you 
awake ? 

Mrs. John. Yes, they did. You see, we were looking for 
them all the while. Bridget said the town was full of them, and 
the neighbors were out nights hunting them with shot-guns. 
Come, John, dear, we take the other room. 

ENTER John Betts, l. 2 e., in dressing-gown and night- 
cap, carrying all their zvraps, luggage, etc.; also a small 
gavel. 

John B. If I ever hit one with this it's shake a day-day to 
him. 

[EXEUNT Mr. and Mrs. John Betts r. 2 e. 

Mrs. Gus. Well, I've stood for a great deal of nonsense from 
the Jersey mosquito, but that's the first time any one ever had 
to hunt them with a mallet in my house. Goodness, I am tired ! 
I must go to bed. [EXIT l. 2 e. Lights down. 

ENTER Mr. Gus. Betts, c. d., with shot-gun. 

Gus. B. Oh, I never expected to come to this ! My dream 

is crushed. My soap-bubble of happiness is busted. (Gets step- 
ladder u. r. e.) It's a shame to do this. (Wavering.) Maybe 



L.9fC. 



Yl A Night in Tappan 

if I holler at him he will run. No, I'll shoot. I will shoot the 
shots that will proclaim to all the world — (Looks over tran- 
som.) Gone! Flew the coop! (Climbs down.) Now, for 
strategy. I will go temporarily insane. Throw her off her 
guard, and when, in her remorse, she confesses all I will con- 
front her. Let me see. I will start in by becoming looney on 
nursery rhymes. [EXIT l. 2 e. 



ENTER Bridget u. r. e. 

Bridget. Holy smoke ! Who's been monkey in' wid th' step- 
ladder ag'in? Hist! What's that? (Turns down the light 
and listens at l. 2 e.) Divil a word I hear but "Hey, diddle, 
diddle! Hey, diddle, diddle! Th' cat an' th' fiddle!" Sure, 
everybody's goin' bughouse here. I'm off fer a home-made Gin 
Rickey. [EXIT u. r. e. with step-ladder. 



ENTER Mrs. Gus. Betts, l. 2 e., excited. 

Mrs. Gus. Oh, this is awful ! He is out of his mind. I must 
send for Dr. Smith. (Knocks u. r. e.) Bridget! Oh, she has 
locked the door. I can't wait. I'll ask his brother to go. 
(Knocks r. 2 e.) John! John! John! John Betts! 

Voice Within. Yes, yes, coming. 



ENTER Mr. John Betts, r. 2 e. 

John B. Well, well, what is it now? 

Mrs. Gus. Oh, please go next door and ask Dr. Smith to 
come in ! Gus. is very sick. Oh, hurry, please ! 
John B. Why, certainly. [EXIT c. d. 

Mrs. Gus. Oh, I can't stay here alone ! (Knocks again 
u. r. e.) Bridget, you must let me in! 

[EXIT u. R. E. 

ENTER Mrs. John Betts, r. 2 e., dragging all their luggage, 
quilt around her shoulders. 

Mrs. John. These quick changes are driving me wild. Ping, 
you're in one room ; pong, you're in the other. I suppose this is 
a case of back to the mosquitoes. Well, if John's asleep I'll go 
in quietly. (Looks in l. 2 e.) Yes, there he is. [EXITS l. 2 e. 



A Night in Tappan J 3 

ENTER Mrs. Gus. Betts u. r. e. 

Mrs. Gus. Worse and more of it. Bridget has taken to drink. 
I can't stay in there. She's roaring drunk ! I will sit down here 
by the door. If Gus. gets violent Mrs. Betts will be some pro- 
tection. [EXIT R. 2 E. 

ENTER Mr. John Betts c. d. 

John B. Smith's out, and I'm going to bed. I know what's 
the matter with brother Gus. He's under the influence of The 
Spirituous Mocker, and that is a family matter, not mine. (Takes 
position near r. 2 e.) 

ENTER Mr. Gus. Betts, l. 2 e., with gun. 

Gus. B. I've got you ! Hands up ! You destroyer of homes, 
you 

ENTER. Mrs. Gus., r. 2 e., rushing and throwing her arms 
around John Betts's neck. 

Mrs. Gus. Don't shoot him, John ! Don't shoot him ! Oh, 
my poor, crazy husband ! Don't shoot him ! 

John B. How dare you, woman! How dare you plead for 
that man's life in front of me! 

ENTER Mrs. John l. 2 e. 

Mrs. John (throws her arms around Gus. Betts's neck). Oh, 
John, don't shoot him ! Hit him with the mallet, John ! Oh, Mr. 
Burglar, good Mr. Burglar, please go home before my husband 
shoots you ! 

Gus. B. For Heaven's sake, who are you? Turn up the light, 
somebody, quick. How many wives have I got, anyway? 

[Mrs. Gus. turns up the light. 
[Lights up. 

Mrs. John. O — 0—0—0 — h, it's not John! John! John! 
John ! ( Crossing to him. ) 

John B. (aside). Now, for the bluff of my life. (Aloud.) 
One wife, sir. That's all you have, one good, kind, loving little 



i 4 A Night in Tappan 

wife. This woman is my wife, sir. And now — now, sir, explain 
how — you — came to be in that room with my wife. 

Gus. B. Oh, Lord, it's up to me ! I — I — I — you can search 
me. I — I — I thought it was Mrs. Betts. 

John B. (thundering). And so it was, sir, and I — I, sir, am 
Mr. Betts. 

Gus. B. I wonder who in blazes I am? Oh, I'm crazy all 
right! Back to the nursery rhvmes for me. Hey, diddle, did- 
dle ! Hey, diddle, diddle ! 

John B. (changing his voice). Gus., don't you know me? 

Gus. B. Great suffering suds, it's John! (They rush to joy- 
ous embrace, and their wives do the same.) Then you are not a 
hideous destroyer of homes? 

John B. Me? I guess not! Why, I have just started to 
make one for myself. Allow me to introduce you to Mrs. John 
Betts. 

Mrs. John (shaking Gus/s hand). Then, you are not a 
burglar? 

Gus. B. Me? I guess not! This is the last house I would 
break into if I was in the business. 

Mrs. Gus. (crossing to him). And you are not crazy, dear? 

Gus. B. Me crazy? Never! (Hesitating.) At least, not 
now. And if I have ever suffered from insanity of any form, 
even of the green-eyed type, I can assure you I am cured. 

Mrs. Gus. Then it's all explained, except the mosquitoes in 
our bedroom. 

All. Mosquitoes in January! 

Mrs. Gus. Yes. I'll tell you how it was. I 

Gus. B. Hold ! Let us retire to the library and there fathom 
this mosquito mystery. Then we will all settle down for a good 
night's rest. 

ENTER Bridget u. r. e., drunk. 

Bridget. Not on your loife! I'm lookin' for throuble! 

[She has the hat given her by Betts twisted over her 
face and the dress on. It fails to meet at the back 
by several inches. She overturns table t chairs, etc., 
and is only controlled by the efforts of the quartette. 
They hold her down on the floor, the men holding 
her arms and the women her feet. 



CURTAIN. 



STRIFE. 



A COMEDY-DRAMA IN FOUR ACTS, BY HORACE DALE. 
PRICE, 1 5 CENTS. 

Nine male, four female characters : Juvenile lead, eccentric character, genteel 
heavy, two walking gentlemen, Dutch character, two negro comedians, policeman, 
leading lady, walking lady, soubrette and utility. Time of playing, two hours and a 
quarter. A play for the masses — quick in action, rich in incident, full of laughable 
situations, abounding in farcical " business," with intensely dramatic climaxes. It can 
be played in any hall, and meets with the greatest success wherever produced. 
SYNOPSIS OP INCIDENTS. 

Act I. Reception Room in Judge Buttons' Mansion. — An eavesdropper. — 
The Judge in a tantrum. — Guardian and ward. — "A frog he would a-wooing go." — 
The cause of humanity. — A timely warning — " Go ; and don't enter my house again 
unless I send for you!" — Echoes of the past. — A gentleman of leisure. — Mistaken 
identity. — Recognition. — An insult and a blow. — Threatened exposure. — Brought to 
bay. — A murderous assault. — A son's defence. — Humiliation. — Tableau. 

Act. II. Julius Goes " a-sparkin'." — Love at first sight. — Raisingthe wind. — 
Gentleman and workingman. — Rejected aid. — " Strike ! " — An excited visitor. — Wel- 
come tidings. — Mother and son. — A villain's resolve. — Hans von Sandt in the clutches 
of the law. — Neb in luck. — The mob's assault. — The mechanic's impassioned appeal. — 
Conflagration. — " Back, every man of you ! "—Tableau. 

Act III. — The Judge's Reception Room. — An embarrassing situation. — The 
mechanic is sent for. — Good intentions and an offered reward. — The workingman's 
ultimatum. — Reinstatement. — A question of duty. — An interruption. — A cowardly 
scheme. — Strange revelations. — The serpent's sting. — An interesting episode. — " Hail 
fellows, well met." — A slight unpleasantness in which Germany goes to the wall.— 
Tableau. 

Act IV. Scene as before. — War declared against Hans. — A false attack. — 
Consternation. — The Judge secures his assailant. — Alienation. — A noble woman's de- 
fiance. — Indignation. — Accused of crime. — Impending disgrace. — A mother's inter- 
vention. — Villainy unmasked. — Foiled ! — A great wrong righted. — " Nothing but sun- 
shine." — Tableau. 

CRAWFORD'S CLAIM; 

OR, NUGGET NELL, THE PET OF POKER FLAT. 

A DRAMA IN PROLOGUE AND THREE ACTS, BY E. L COWLEY AND 

W. T, BENNETTE. 

PRICE, 15 CENTS. 

Nine male, three female characters : Heroic leading man, dialect heavy, Irish 
comedy, eccentric old man, character juvenile, Chinese comedy, light comedy, 
character old man, responsible utility, soubrette, walking lady, and character lady. 
Time of playing, two hours and a quarter. The action is brisk, the language terse, the 
climaxes thrilling. Humor, pathos, sentiment, and wit are most ingeniously interwoven, 
while the surprising development of the plot rivets the interest of the spectators 
from beginning to end. 

SYNOPSIS OF INCIDENTS. 

Prologue. — The convict's return. — The story of the past. — A cool proposition. — 
Mike Moore's tribulations. — "All on account of an advertisement."— The meeting of 
friends. — Attorney and client. — A snug little boodle. — Baffled ! 

Act I. The " Pilgrim's Rest." — A giddy Celestial. — A chap in store clothes. — 
The pet of Poker Flat. — How the " Extra " beat the record from Blazes Bar. — A rat 
in the soup. — The greaser's little scheme. — The Arkansaw hand. — Tableau. 

Act II. At Poker Flat. — Joe Bowers to the rescue.- — Ling Ling on his muscle. — 
A search for an heiress. — "Your little game is busted." — A startling discovery. — A 
Napoleon of finance. — Left in trust. — The greaser's revenge. — Tableau. 

Act III. Joe's Home in Denver. — " Begorra here's a transformation for ye ! " — 
Abigail puts on her war paint. — Ling in hot water. — Jack Davis's account of himself. — ■ 
"' Great Scott, but I'm just dyin' to sot eyes on that ar gal ! " — The deacon's retreat. — ■ 
Nell's secret. — "I have come back to claim the woman I love ! " — A visitor is announced. 
— Turning the tables.— The deacon drives some nails and Bill Mulligan clinches them. 
— At the end of his rope. — Tableau. 

t^"" Copies mailed, postpaid, to any address, on receipt of the annexed prices. ^JgS 

Dick & Fitzgerald, Publishers, 18 Ann Street, New York 



JUL 23 1903 



THE JAIL BIRD 

A Drama in 5 Acts, by Charles Townsend. 



Price, 25 Cents. 



A new play from the pen of Charles Townsend arouses more than 
ordinary interest among dramatic clubs, and THE JAIL BIRD, a 
play representing city life, will be found not the least important 
contribution of this talented writer to the stock of modern acting 
dramas. The plot resembles that of "The Ticket of Leave Man," 
but this play is far easier to produce, inasmuch as there are no diffi- 
cult scenes or properties to handle. It is new in treatment, up to the 
times, and has proved exceedingly popular on the road during the 
past three seasons— managers reporting it "a big winner." All of 
the characters provide scope for effective acting, the interest is con- 
tinuous, and the comedy portions are warranted to create boisterous 
mirth. 

CAST OF CHARACTERS. 

Matthew Morgan, from "up in York State," 

who has come to the great city to seek 

his fortune Leading juvenile man 

Bill Donovan, alias "Jenkins," alias "the 

Parson " Character heavy 

Darby Jones, a New York detective Low comedy 

Solomon Isaacs, a Jewish "crook" Character comedy 

Mr. Denham, a wealthy stockbroker , Walking gentleman 

Joe, a workman Utility 

Bob "Wilkins. a street urchin Soubrette 

Jennie Foster, af terward Matt's wife Leading emotional lady 

Mrs. Babbleton, whose tongue never tires Old woman comedy 

Time, the present. Place, New York City. Time of playing, two 
hours and a half. 




SYNOPSIS OF INCIDENTS. 

ACT 1.— Place, a room in Isaacs' concert hall on Sixth avenue, New 
York.— The detective and the crook.— A profitable deal.— Donovan 
and Isaacs compare notes.— The counterfeit money.— Matt and Dono- 
van.—" Seeing Lite."— Bitter memories. — Jennie. — Homeless and 
friendless.— The insult.— The Jew learns a lesson.— Arrested. 

ACT 2 —Time, two years later.— Place, Jennie Foster's rooms in 
Mrs. Babbleton's lodging house.— Matt's letter.— Mrs. Babbleton 
makes a few remarks.— Matt's arrival.— Prison experience.— Bob 
" blows in."— A specimen of the New York " kid."— Matt refunds the 
money.— Denham, the broker.— Sunshine ahead. 

ACT 3.— A lapse of six months.— PI ?ice, ante-room in Denham's 
office.— Matt's advice.— Bright prospects.— Mrs. Babbleton investi- 
gates.— Darby's discovery.— A good hearted officer.— Donovan in hot 
water.— A cunning rascal.— Discharged. 

ACT 4.— Six months later.— Place, the concert hall again.— Planning 
a robbery. — The last chance.— Husband and wife.— Jennie's faith.— 
Bob on a "bender."— The swindlers.— Hunted down.— Matt's despera- 
tion.—" I'm ready for anything."— Matt's cunning.— Foiled !— Striking 
tableau. 

ACT 5.— Half an hour later. —Place, Denham's office.— Darby 
speaks his mind.— Laying the train.— Matt asserts himself. — A thrill- 
ing struggle. — Victory !— Sunshine at last. — Finale. 

Copies wSil be mailed, po jtpaid, to any address on receipt of price. 

DICK & FITZGERALD, Publishers, 

18 ANN ST., NEW YORK. 



sjL%fx$X*)& 



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*ft DICK & FITZGERALD, Publishers, 18 Ann St., N.-Y 



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